My Chemical Romance is releasing a new album set in a sort of dystopian world, and they asked fans to come up with Halloween costumes that fit that world. I'm loving their new look, which is one reason I jumped at the chance, but even MORE important than the primary colors and rayguns is the fact that Becky Cloonan, my very favorite comic artist, will be drawing the comic of the same name and universe (releasing in 2011! new year, come quick!).
Here's my take:
I bought a cheap jacket at Nordstrom Rack--faux leather, but it looks and feels pretty realistic. I'd had my eye on a red jacket at a local vintage shop, but it was sold by the time I went back to the store. The red boots are leftover from a punk costume I did years ago, and the guns and glasses started their lives as Nerf equipment. I chopped the fingertips and wrist part off the gloves. Then came the spraypaint. I masked everything out with (one and a half rolls of) painter's tape and newspaper.
Here you can see the back of the jacket, which I like a lot more than the front.
And a close up of my various accessories. The zine cover is made of fused plastic bags, the water bottle is one of those cool aluminum Coke bottles.
I had a lot of fun making and wearing this--primary colors FTW!
So I already posted some pictures of the finished print in my last post, but I just found all these WIP shots I took and thought they deserved a thread of their own.
To prepare my linoleum I sanded it with a very fine grade of sandpaper to get rid of any tiny nicks and to take the sharpness off the edges so they wouldn't cut the felts on the press. I then stained it with a mixture of etching inks and mineral spirits so there'd be a larger contrast between areas I'd cut away and areas I hadn't. I used red--it gives just the barest tinge of color to the block.
My original drawing. You can see I didn't take the time to fully plan it out before I started printing, which caused me some headaches later on!
And the back of the drawing, where I traced the image using a light table once I remembered my image would be reversed when printed.
The missing steps here are of me tracing the drawing yet again with a transfer sheet between it and my linoleum, and then going over parts of that drawing with marker so it showed up better/didn't smear, and so that I wouldn't get confused about what I was supposed to carve away and what was supposed to stay.
I've just started carving my plate here--you can see I got lazy about filling in with markers.
An action shot of my bench hook, which keeps the block from sliding away while you're carving, and all of my tools. I had a Speedball tool and a fancy German tool. I used my Speedball most, because it had the smallest and sharpest tip, but the German tool was pretty nice.
A later shot of my plate. I used a wide-tipped marker (in this case, a Prismacolor) to lightly go over the plate in areas after I carved so I could see where ink would go and adjust as necessary.
And a picture of the resultant print.
ETA: I meant to put that if anyone has any questions about the process, feel free to ask!
I took a print survey course this semester and have finally gotten around to taking pictures of all my work.
This is the first thing I made. It's a collograph printed in relief. We made the plates using signboard and tape and stickers, and I used a pen to carve some lines.
My second plate for the first project. Another collograph, printed in relief and intaglio. I changed which color I used for which process between the two prints.
This is a test plate I knocked out in a day for our linocut project. We were supposed to try different carving techniques. It's a relief print, of course.
Two different prints of my final linocut plate. The first is a bleed print (the paper didn't cover the entire plate) and the second shows the full plate. I think the plate is 8x10 inches.
Our next project was monotypes (ooak prints), so I have a lot of different work. We used plexiglass as our image matrix.
These used the same concept. The people are xerox transfers--I did the original drawings. The lady's frame is a stencil.
A quick monotype drawing.
This was inspired by Waiting for Godot--he reminds me of Didi or Gogo. I rolled out the ink and drew in it with the end of a paintbrush.
I had some fun with the solvents to make this one.
Then we did waterless litho. All the plates are 9x12 in. I made the plate with the skull and the girl, and the rest are prints from plates my classmates made. They're all intaglio.
These are my plates--the first image is just one plate, the other is both printed together. I was inspired by Day of the Dead (the project was right around Halloween)
Here's my two plates with a classmate's. Each plate was printed twice.
Some more of my plate with a classmate's.
I used two of my classmate's plates for this one. I loved the slice of pizza a lot, you can't really see but it has a face!
Our final project was copper etching--I have another post with pictures of my plate in progress lurking around. The plate was 9x13 inches and has both line etch and aquatint. This was my favorite project, although wiping it was an absolute pain! My professor's encouraging me to submit it to a local gallery that showcases student work, which would be awesome.I finally settled on the title 'D.I.Y. Predator.'
The last project in my print survey class is etching. The professor gave us the prompt "what's the point?" with emphasis on pointy things, so I thought of knitting needles and teeth. I wanted to etch some heavily textured things, too, so I tried to work all of that in.
I'm not done yet, but I thought I'd post some in-progress shots. Unfortunately, I did all the line etch before I thought to take pictures. Right now my plate's covered in rosin for aquatint, which I'll (hopefully!) do tomorrow and Monday.
That's my full plate, hanging out on some newsprint. I'm blanking on how big it is atm, but I think it's around 11 inches tall.
A detail shot. That weird bumpy texture is the aquatint--it's a nice way to get even tones while etching (as opposed to cross-hatching everything!).
This was the first phase of my etching. My professor just wanted us to get a decent amount of line down so he could give feedback.
My second stage, and what my plate looks like under the aquatint. I re-etched some of the lines, especially on his pants & shoes, added some fur, and filled in the knitted texture.
I need help coming up with a title! The concept is sort of a visual pun, that it's this guy in a wolf hood knitting (and he's wearing a sweater, although the fair isle pattern it was originally going to have got discarded). So he's making his own sheep's clothing, but he's also only *dressed* as a wolf. Any ideas?
Hey! I'm a huge fan of Art Nouveau and Alphonse Mucha, so when I saw these gorgeous headdresses on etsy I knew *exactly* what I wanted to be for Halloween.
I made the headdress with thick interfacing and silk flowers. I started by poking the stems through, but I shortly decided to just sew them on. It was less time-consuming and much more secure. The chestpiece is more of the interfacing--I was going to bead it, but, as I was drawing the design on, I realized that it looked pretty sweet and I could easily save some money and frustration by *not* beading it. The ribbon is more marker. The dress is sewn out of some old flannel sheet my mom had lying around the house. I had planned to go thrifting for a sheet before she offered them up. I'm glad I picked such a simple dress design, because I had to come up with the pattern myself! I am definitely not an accomplished enough seamstress to do that with anything that actually involved armholes.
I made this as part of a monoprint assignment for a print class I'm taking. It has at least 6 runs and a stencil. We used plexiglass plates as a support matrix for our prints.
Most of the runs were done for the background. I used mineral spirits to wear away at an ink film and drew more drippy bits with some very loose ink. I did a few runs like this, and I didn't clean the plate between them. Then I drew the stencil and cut it from printer paper with an exacto knife and stippled the ink on with a stiff brush. The last step was cat!monster and dog!monster, who were drawn onto my plate with a stiff, ink-encrusted brush and some qtips. I used a lot of tint base in the black in hopes that it would be less opaque, but I'm not too sure it worked. I used some mineral spirits here, too, to get the black drips. I laid the ink on a little too heavy on several parts of my painting, and some of it is actually still tacky (over a week later!).
I'm co-president of my university's anime club, and we have a Halloween costume contest every year with reasonably fabulous prizes. That was today! I always dress up for our Halloween costume contest, especially now that I need to lead by example The only problem was that my Halloween costume is still pretty far from finished. What was I to do?
I was brainstorming quick, cheap (!), and easy costumes during my class today, and I decided I could be a skeleton/Death. I figured I could just buy white greasepaint from Student Stores (one of our colors is white) and do the rest with either black greasepaint, if they had it, or my own black eyeshadow and eyeliner if they didn't. I ended up using eyeshadow and all of my black & grey eyeliners, because, of course, there was no black greasepaint.I borrowed a long-sleeved black shirt from my roommate, because I wanted to draw bones for all of my exposed skin and did not want to deal with arm bones. I wouldn't have had enough supplies!
My hands wore off over the evening, unfortunately, but you get the idea!
I'm taking a print survey class right now and we're working on monotypes atm. On Thursday our professor surprised us with an 'experiment' unrelated to the main monotype project: He split us into groups of four and gave us the theme 'shoes' and about 2.5 hours to come up with either one or two monotypes that used at least 3 techniques between them. We spent a lot of time brainstorming! First we thought we could xerox all of our shoes for use in gum arabic transfers, and one of my group members suggested we do a diptych, like the Cult of the Virgin diptychs. She was wearing converse, so I suggested we use the converse symbol as a halo, and it sort of spiraled from there.
Our print was 4 runs and used dark field, arabic gum transfer, and monotype drawing techniques. It's 11x15, I think. I drew the Virgin. Sorry for the cell phone photos!
We thought we wouldn't finish in time, but we were actually the first to finish, about 5 minutes before the deadline! We all agreed we couldn't handle Project Runway or anything like that!